Not-so-antique antics

Twelfth Night

Shakespeare's comic masterpiece found a sunny respite from a cold
New York winter in an Illyria off the coast of Italy, on a luxurious
terrace overlooking the sea. Set in the technicolor of 1950s films,
Theater 1010's cast of jet-setters and a few drunk and disorderly
friends and relatives indulged their passions, simultaneously
revealing moments of loneliness and even danger, amidst the fun
in the sun.

Last year's OOBR Award-winning company did not sit on their laurels,
offering a number of exceptional performances, with several auspicious
NYC debuts. Christopher P. Meyer's Orsino was a handsome
and sensual young playboy. Meghan Shea's agile, boyish
Viola was delightful, and her ease with Shakespeare's text a pleasure.
Lou Tally, one of the debutants, was a wonderful Toby Belch,
providing riotous drunken antics. Aaron Morgan, also in
a debut, matched Tally's energy and brought a delicious screwball
energy to Sir Andrew Aguecheek. Diane Buglewicz's witty
and charming Maria rounded out this winning comic trio.

Miles Phillips's Feste was a bongo-playing beatnik with
a fabulous singing voice, but why was he given Spanish music to
sing in Italy, and why was the structure of his Shakespearean
music contorted so strangely? Phillips was also given too many
effeminate gestures, which detracted from his fine work. Judith
Jarosz's gracious Olivia brought out the many comic subtleties
this role requires, which most actresses usually miss. However,
costume designer Erin Billings (whose designs for The
Hamlet Project across town are wonderful) must be taken to
task for outfitting Jarosz in frumpy ensembles, and a matronly
blonde wig more appropriate for Ethel Mertz or Trixie Norton than
a glamorous princess. With a period offering some of the most
gorgeous clothes possible, how could this happen? James Doherty's
Malvolio was a crowd-pleasing, comic gem, but director Rowan dragged
out his letter scene a bit too long.

Kari Martin's romantic set and flattering lights were ideal
for the sun-kissed proceedings. The comic fight choreography by
Rob Kinter and Aaron Morgan was top-notch, and most
of the characters looked great in their '50s-style duds.